Queer Films & TV We Couldn't Stop Watching This Year

By Michael Cuby

December 27, 2017

Though 2017 was trash, it was queer heaven on-screen.

As far as queer TV and film go, 2017 will always be known as the year that Moonlight won the Oscar. Many thought of its win as a harbinger of things to come — namely, a world filled with more queer stories, all told in diverse and dynamic ways. As the year comes to a close, I can look back and honestly agree with that sentiment. No other year in recent memory has seen such a constant stream of queer narratives. Movies that addressed queerness were abundant, while TV shows — both old and new — made a conscientious effort to add in recurring queer characters whose storylines weren’t solely limited to their sexual orientation or gender identity. I mean, hello, even Will & Grace came back!

Narrowing my list down to six favorites in each category was an impossibly daunting task, and I still cringe thinking about all the worthy candidates I couldn’t fit. But as I sifted through my running list, I ended up selecting those stories whose handlings of queer characters and queer subjects were both nuanced and entertaining. No, not all of these shows or movies are about being queer — some of them aren’t even that kind to its queer characters — but, across the board, one thing was consistent: each one told an interesting story about queerness in a way that wasn’t trite or offensive.

TV:

Photo by VH1

RUPAUL’S DRAG RACE (VH1)

Few shows have done as much for queer representation in media as RuPaul’s Drag Race has. The reality competition show has gradually grown over its nine season run (with two extras in the form of All Stars), expanding from a niche guilty pleasure to a Primetime Emmy Award-winning cultural juggernaut. But after switching from the independent LGBTQ+ channel LOGO to the much larger VH1 network in its ninth season, Drag Race really seemed to enter its final form.

For the first time in its history, the show cast an out and proud trans drag queen — Peppermint, who would go on to finish as runner-up — and placed a focus on addressing topics that widely affect queer people across the spectrum (eating disorders, bullying, and depression, just to name a few). Drag Race had always been enjoyable for the LGBTQ+ people who liked drag anyway, but as was demonstrated by Saturday Night Live’s hilarious "Auto Shop" sketch, in 2017, Drag Race became a show that could be (openly) enjoyed by all.

Photo by Robert Voets/The CW

CRAZY EX-GIRLFRIEND (The CW)

In the middle of its first season, The CW’s beloved musical-cum-multi-layered-dramedy Crazy Ex-Girlfriend switched up the script by pairing Darryl, a recent divorcée and the jittery insecure boss to the show’s protagonist, with “White Josh,” a sports bar-frequenting personal trainer with a visible tender side — thereby instantly setting the two as the show’s resident “Odd Couple.” But over the course of the next few seasons, the bond between them grew stronger and their initial incompatibility eventually became their most adorable quality.

In a show defined by messy romantic relationships, Darryl and Josh’s stuck out for its ease. By the third season, the couple had started talking “next steps,” with Darryl wanting kids and Josh wanting to keep things as is — and though their different ideas of what would constitute a happy union in the coming years eventually lead to their breakup in the midseason finale, the love that they felt for each other is one of the show’s most deliberate expressions of what a healthy relationship looks like.

Photo by Netflix

BOJACK HORSEMAN (Netflix)

There are a number of topics Netflix’s Bojack Horseman excellently explored in its phenomenal fourth season. But with most of them being quite dark (depression, abandonment, senility), one stood out for being noticeably light and inspirational — a rarity for an otherwise bleak series. Through Todd Chavez, Bojack Horseman took an intimate and nuanced look into the reality of living as an asexual person, and the joy that can come from being honest about your sexual inclinations. Building off his realization in the third season finale that he “might be nothing” (not gay, but not straight either), season four found Todd openly accepting the label in a touching admission to the titular Bojack, joining an ace meetup group, and even accepting a date offer from another asexual person in this season’s finale — showing that, yes, asexual people date too.

Photo by Logo TV

FIRE ISLAND (LOGO)

For what it’s worth, Fire Island isn’t for everyone. For one, it’s a typical trashy reality show, so if you aren’t into incessant bickering and deliberately stirred-up drama, well… Then, it’s also a trashy reality show about summer life on Fire Island, a gay utopia where just about anything goes — from underwear parties to semi-public sex. In a year where the biggest LGBTQ+ movie made as manyheadlines for its sensitive portrayal of young love as it did for its questionable lack of sex scenes, Fire Island’s forthrightness in showing queer sex and the culture that embraces it is truly noteworthy. With storylines that openly address issues concerning non-monogamy, cheating, and body image issues (hey, everyone should feel comfortable stripping down at the underwear party!), Fire Island operates in a league of its own. Now, let’s just hope it gets picked up for a second season — there are more Speedos to be worn.

Photo by FX

AMERICAN HORROR STORY: CULT (FX)

Given that he’s one of the most visible gay producers in Hollywood, it’s surprising how little queerness has crept into Ryan Murphy’s series, American Horror Story. But in its seventh season — the best since its third, in my humble opinion — queerness is central to the narrative. Tackling life in a post-Trump world, American Horror Story: Cult centers on the dissolution of a lesbian couple’s marriage, showing how differences in politics can slowly chip away at an otherwise happy union.

As Ally Mayfair-Richards, Sarah Paulson is typically breathtaking, teetering the fine line between powerfully outspoken feminist, and petty, oblivious millennial (she gave Jill Stein a protest vote) as she fights to bring justice to the leader of a neo-Nazi group using Trump’s win as ammo for inciting a revolution. Though the queer storyline at Cult’s center is not uplifting by any means, it’s amazing to watch nonetheless — focusing a compelling and often terrifying narrative on a type of family that many people don’t acknowledge exists.

Photo by NBC

WILL & GRACE (NBC)

For eight years in the late '90s and into the early aughts, Will & Grace were two names synonymous with The Gay Agenda. Though there have been far more nuanced (and much less problematic) depictions of queerness in the decade since its 2006 finale, there will always be a special place in our hearts for the first show that truly broke the mold.

The show has only gotten better in the past 11 years, successfully updating a possibly trite formula for the new millennium. Gone are the oversized cell-phones and Will’s thinly veiled insecurity about being perceived as a bottom; in their place are mentions of Grindr, Google Home, being “woke,” and naturally, life in a post-Trump world (Pussy hats! Fake news!). Plus, Dear Evan Hansen’s Ben Platt gets a cameo as a self-absorbed millennial who calls Stonewall “Stonehenge” in the second episode. Doesn’t get much better than that.

FILM:

Photo by YouTube Red

THIS IS EVERYTHING: GIGI GORGEOUS (YouTube Red)

As a woman who transitioned in the public eye via her YouTube account, it’s true that Gigi Gorgeous had already told many parts of her story. Yet, by giving us a glimpse behind the scenes of her makeup tutorials and back-to-back meet-and-greets, the out and proud lesbian managed to weave together a 90-minute story that, somehow, still felt fresh and necessary. With her frankness as the documentary narrator, Gigi brought everyone into her world with a rare sense of honesty and a surprising willingness to scratch beneath the surface. This Is Everything is not only compelling for its depiction of a woman gradually coming to terms with her gender identity, but also for its portrayal of a supportive family.

Photo by Neon

BEACH RATS (Neon)

The most impressive thing about Beach Rats is its ability to tell two completely different stories that coexist in the same universe. The first is about Frankie, a mischievous teenager who spends his summer days goofing off at the beach with his equally (if not more) mischievous friends, smoking weed, snorting coke, and taking money out of strangers’ wallets. The second story is also about Frankie, but this version boldly logs onto gay chatrooms, flashing himself to older men that he eventually meets up with for anonymous sex in dark parks and pay-by-the-hour motels. Of course, these two competing narratives eventually converge, and when they do, Beach Rats quickly shifts gears from a day in the life procedural to a horror story that wrestles with the question of how far one will go to protect their reputation.

Photo by Mass Ornament Films

THEY (Mass Ornament Films)

They is far from perfect. There are aspects of the movie that I still don’t wholly understand, but there’s no arguing with the fact that its gentle exploration of its central character, J, is truly beautiful. Over the course of its short but sweet 80-minute runtime, They takes us through J’s world, showing what life is like for a 14-year-old caught in the in-between and still trying to decide whether they want to mature as a boy or a girl. It’s a quiet film that, at times, seems to move a little too slowly, but it also makes a very strong case for trusting in a child’s innate sensibility to know what’s best for their own body.

By surrounding its protagonist with people who respect J’s still-fluctuating gender identity despite being largely unfamiliar with the exact nature of their specific needs, the film even manages to teach its audience a few things without coming across as overly didactic. When their sister’s boyfriend asks how he should introduce J at an upcoming family event (not brother, not sister, just “sibling” is best), a tear came to my eye. See how much easier life could be if people cared?

Photo by Wolfe Releasing

PRINCESS CYD (Wolfe Releasing)

In a similar respect, Princess Cyd places its protagonist in a world relatively free of any outside threat. A laidback soccer player, our titular Cyd spends most of the film adjusting to her new life staying with her studious aunt — and like many arty films in this vein, not much else really happens in Princess Cyd. Nevertheless, watching our protagonist navigate her new environment while slowly learning to embrace her true feelings (whether that’s by pursuing a girl at her local coffee shop even though she’s already dating a boy, or selecting a sharp tuxedo instead of a frilly dress as her outfit for a special occasion) is fun and exhilarating. Few movies have left me feeling as happy as this one.

Photo by The Orchard

BPM: BEATS PER MINUTE (The Orchard)

As far as life imitating art, no film (or TV show, for that matter) has been more topical this year than Robin Campillo’s incredible BPM (Beats Per Minute). Retelling the story of radical AIDS activist group ACT UP Paris, BPM is, importantly, a movie about taking action, no matter the consequences. In today’s current culture, where pussy hat-wearing protesters take to the streets just for an Instagram photo op, it’s a film that forces one to reckon with the reality of what really goes into inciting change. Though it’s already been snubbed for Best Foreign Language Film at the upcoming 2018 Oscars, its relevant story — about a group of individuals struggling to grab the attention of a government that wants to pretend they don’t exist — has already done more than enough to make its mark in the queer canon.

Photo by Sony Pictures Classics

CALL ME BY YOUR NAME (Sony Pictures Classics)

I know. You don’t need me to tell you Call Me By Your Name is good. With all the hype surrounding it, I’m sure you’ve heard (or seen it) for yourself. But this wouldn’t be a real “Best Of” list without it. The simple tale of a romance that brews between 17-year-old Elio and 24-year-old Oliver is both incredibly acted and visually stunning. Even without explicit sex scenes, it’s a tender movie that will make you reminisce on your first love. By the film’s final scene, when Elio sits in front of a fireplace, crying as “Visions of Gideon” by Sufjan Stevens softly plays in the background, it’s near impossible not to cry as well. No, it may not be the queer cinema we need in this fraught time for queer people (see my comments about BPM for that), but it definitely is one of the ones we’ve always wanted. (Also, did I mention those Sufjan songs?)

Michael Cuby has always been a social media addict, but is now finally putting his vice to good use as the Community Manager for them. He is also a writer whose work has appeared in PAPER, Teen Vogue, VICE, and Flavorwire.